The contrast between the edgy, high-energy songs and the thinly-drawn characters and predictable storyline will make it of most interest to viewers young enough to be unfamiliar with the formulas it never transcends.

Allowing us to luxuriate within the languid pacing of this slice-of-life story is actually refreshing during these big, noisy summer days.

The sincerity that Brie brings to her full-fledged embodiment of mental illness is major, and in turn helps Horse Girl overcome its tricky storytelling.

Beyond its message and intent, Chandler’s film is a raw and insightful portrait of the psychology fueling addiction, and how the healing of pain and depression must be tackled in a healthy way.

The depictions of artistic struggle and mania, the communication of the artist’s frequently painful bubble, are insightful and rewarding. The warts-and-all depiction of Giacometti, which establishes a credible explanation if not excuse for the many selfish acts he’s seen doing, winds up being an apt tribute to both the artist and art itself.

Simultaneously lush and lurid, sumptuous and startling, A Bigger Splash never goes where you expect, even as its undercurrent of danger is unmistakable from the start.

The final four minutes turn what was already a fine picture into an unforgettable one, affirming Morchhale’s status as one of the most exciting figures of the Indian new wave.

It's charming. It's funny. The case they investigate has a legitimate twist to it, there's a lot of French intrigue, there's much that is totally implausible, but the film lives or dies on the dynamic of the two main guys. It lives.

The moviemakers craft a satisfying narrative while leaving the viewer with some questions; this is a movie that manages to be disquieting and entertaining simultaneously.

With its frequent dramatizations, zippy editing, and song-driven soundtrack, Three Identical Strangers may be said to indulge in the most potentially egregious of mainstreaming devices used in contemporary documentaries. Yet because the story itself is so, well, juicy, and the subjects one-time pop culture phenoms, the approach feels acceptable if not entirely “right.”

Wang and Zhang's film ends with an explication of a new “two child” policy, a celebration of the one-child-policy’s overall success. The propaganda for his policy is as cheesy as that for the old one. A sense of dread as to how this policy will be enacted intermingles with a strange feeling that a true reckoning with the old way is still very far off.

This movie is a reminder that we should not have to wait to fly above the clouds to keep our lives wild and precious.

Camp X-Ray has cinematic and moral intelligence.

Just as Flannigan gives it his all, on the off-chance he may never have this opportunity again, so does Pitt. And that's what makes "Day of the Fight" a sight to see.

The easy chemistry between the characters reflects the real-life friendship of the two stars and it is clear to see that like Emma and Charlie, Haddish and Crystal get a kick out of each other.

For myself, I couldn’t avoid the irony that, in finding it ultimately rather superficial and self-satisfied in that particular Parisian way, I was echoing Antoine’s criticism of Olivia’s writing.

There’s no question that Neel’s the key to Salaar’s success, so it’s hard to get too upset for his reminding us with every italicized, bolded, and underlined flourish.

The moments of sentiment, when they come, feel fully earned, and they come out of characterization.

Despite some miscalculations that weigh this installment of fearless tornado chasers down, “Twisters” is an enthralling summer blockbuster on the whole, thanks in large part to Powell’s presence, which is fun, disarming, and even cheekily silly.

As a character, Yasuko feels a bit underdeveloped, resulting in a late-film character turn that I didn’t quite buy, but every narrative issue in Creepy is overwhelmed by the quality of the filmmaking.

I’ve seen Ismael’s Ghosts twice, and both times I got the feeling that I was missing something. The film feels very personal, as if writer/director Arnaud Desplechin were sorting out his thoughts, processes and demons onscreen.

Bring tissues. Because whether you’re the faithful target audience for Miracles From Heaven, a non-believer or someone in the mass agnostic middle ground, you may find it hard to hold back the tears during various points in this real-life tale. And they’ll be earned.

Finding Your Feet finds its own footing by putting its trust in its sturdy performers and avoiding many of the usual tea-time clichés as it allows its British cast to be defined by their relatable human circumstances more than quaint Anglo quirks.

Handsomely mounted and well-acted by a stellar cast, but it’s one of those theatrical adaptations that has no reason to exist for any viewer who can recall a superior stage version of the same work.

While it offers some gripping and/or darkly beautiful images, it's ultimately more about ideas than spectacle, proving (like every previous film by this team) that you don't need a gigantic amount of money to create an engrossing work of science fiction and/or fantasy.

Had The Founder focused solely on Kroc’s relationship with the McDonald brothers, it might have been one of the great intimate, sour character studies of recent times.

If Hustle passes around a lot of sports movie cliches, it does so with a light touch. And its sense of atmosphere, and depiction of Stanley’s milieu, is sensitive and knowing, But be warned: this movie is VERY basketball-oriented. If you’re not a fan, you might feel a little lost.

Like its hero, Stand Clear of the Closing Doors goes with the flow and has a chaotic and thrilling time but doesn't know where to go or what to do with itself.